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Rh passed into popular song. As the earliest Magyarizer of Servian folk-song, Michael Vitkovics did valuable service. Not without interest to Englishmen is the name of (q.v.), the translator of Shakespeare’s Macbeth, represented at Pozsony in 1825. An historical poem of a somewhat philosophical nature was produced in 1814 by Andreas Horváth under the title of Zircz emlékezete (Reminiscence of Zircz); but his Árpád, in 12 books, finished in 1830, and published at Pest in the following year, is a great national epic. Among other poets of this period were Alois Szentmiklóssy, George Gaal, Emil Buczy, Joseph Szász, Ladislaus Tóth and Joseph Katona, author of the much-extolled historical drama Bánk Bán. Izidore Guzmics, the translator of Theocritus into Magyar hexameters, is chiefly noted for his prose writings on ecclesiastical and philosophical subjects. As authors of special works on philosophy, we find Samuel Köteles, John Imre, Joseph Ruszék, Daniel Ercsei and Paul Sárvári; as a theologian and Hebraist John Somossy; as an historian and philologist Stephen Horváth, who endeavoured to trace the Magyar descent from the earliest historic times; as writers on jurisprudence Alexander Kövy and Paul Szlemenics. For an account of the historian George Fejér, the laborious compiler of the Codex Diplomaticus, see.

The establishment of the Hungarian Academy of Sciences (17th November 1830) marks the commencement of a new period, in the first eighteen years of which gigantic exertions were made as regards the literary and intellectual life of the nation. The language, nursed by the academy, developed

rapidly, and showed its capacity for giving expression to almost every form of scientific knowledge. By offering rewards for the best original dramatic productions, the academy provided that the national theatre should not suffer from a lack of classical dramas. During the earlier part of its existence the Hungarian academy devoted itself mainly to the scientific development of the language and philological research. Since its reorganization in 1869 the academy has, however, paid equal attention to the various departments of history, archaeology, national economy and the physical sciences. The encouragement of polite literature was more especially the object of the Kisfaludy Society, founded in 1836.

Polite literature had received a great impulse in the preceding period (1807–1830), but after the formation of the academy and the Kisfaludy society it advanced with accelerated speed towards the point attained by other nations. Foremost among epic poets, though not equally successful as a dramatist, was (q.v.), who, belonging also to the close of the last period, combines great power of imagination with elegance of language. Generally less varied and romantic, though easier in style, are the heroic poems Augsburgi ütközet (Battle of Augsburg) and Aradi gyülés (Diet of Arad) of Gregory Czuczor, who was, moreover, very felicitous as an epigrammatist. Martin Debreczeni was chiefly famed for his Kióvi csata (Battle of Kieff), published at Pest in 1854 after his death by Count Emeríc Mikó. The laborious John Garay in his Szent László shows considerable ability as an epic poet, but his greatest merit was rather as a romancist and ballad writer, as shown by the “Pen Sketches” or Tollrajzok (1845), and his legendary series Árpádok (1847). Joseph Bajza was a lyricist of a somewhat melancholy cast, but his Borének (Wine Song), Sohajtás (Sigh), Ébresztö (Awakening) and Apotheosis are much admired. He is known further as the translator of F. C. Dahlmann’s Geschichte der englischen Revolution. As generally able writers of lyrical poetry during the earlier part of this period may be mentioned among others Francis Császár, Joseph Székács and Andrew Kunoss—also Lewis Szakál and Alexander Vachott, whose songs and romances are of an artless and simple character, and the sacred lyricist Béla Tárkányi. As an original but rather heavy lyric and didactic poet we may mention Peter Vajda, who was, moreover, the translator of Bulwer’s “Night and Morning.” Of a more distinctly national tendency are the lyrics of John Kriza and John Erdélyi, but the reputation of the latter was more especially due to his collections of folk-lore made on behalf of the Kisfaludy society. More popular than any of the preceding, and well known in England through Sir John Bowring’s translation, are the charming lyrics of (q.v.), the “Burns” of Hungary. His poems, which embody the national genius, have passed into the very life of the people; particularly is he happy in the pieces descriptive of rural life. Among lyricists were: Coloman Tóth, who is also the author of several epic and dramatic pieces; John Vajda, whose Kisebb Költemények (Minor Poems), published by the Kisfaludy society in 1872, are partly written in the mode of Heine, and are of a pleasing but melancholy character; Joseph Lévay, known also as the translator of Shakespeare’s Titus Andronicus, Taming of the Shrew and Henry IV.; and Paul Gyulai, who, not only as a faultless lyric and epic poet, but as an impartial critical writer, is highly esteemed, and whose Romhányi is justly prized as one of the best Magyar poems that has appeared in modern times. To these may be added the names of Charles Berecz, Joseph Zalár, Samuel Nyilas, Joseph Vida, Lewis Tolnai, the sentimental Ladislaus Szelestey, and the talented painter Zoltán Balogh, whose romantic poem Alpári was published in 1871 by the Kisfaludy society. The lyrics of Anthony Várady (1875, 1877) are somewhat dull and unequal in tone; both he and Baron Ivor Kaas, author of Az itélet napja (Day of Judgment, 1876), have shown skill rather in the art of dramatic verse. The poems of Count Géza Zichy and Victor Dalmady, those of the latter published at Budapest in 1876, are mostly written on subjects of a domestic nature, but are conceived in a patriotic spirit. Emil Ábrányi adopts a rather romantic style, but his Nagypéntek (Good Friday) is an excellent descriptive sketch. Alexander Endrödy, author of Tücsök dalok (Cricket Songs, 1876), is a glowing writer, with great power of conception, but his metaphors, following rapidly one upon the other, become often confused. Joseph Kiss in 1876 brought out a few lyric and epic poems of considerable merit. The Mesék of Augustus Greguss (1878), a collection of verse “Fables,” belonging to the school of Gay, partake more of a didactic than lyrical nature. This feature is noticeable also in the Költemények (1873) of Ladislaus Torkos and the Modern Mesék (1874) of Ladislaus Névy. The Salamon (1878) of Charles Szász (b. 1829) was rewarded with the prize of the academy. The subject, taken from the age of Hungarian chivalry, is artistically worked out from medieval legends, and gives an excellent description of the times of St Ladislaus of Hungary. Charles Szász is generally better known as a metrical translator than as an original poet. He is the Magyarizer of Shakespeare’s Anthony and Cleopatra, Othello, Macbeth, Henry VIII., Winter’s Tale, Romeo and Juliet and Tempest, as also of some of the best pieces of Burns, Moore, Byron, Shelley, Milton, Béranger, Lamartine, Victor Hugo, Goethe and others. A translator from Byron and Pope appeared also in Maurice Lukács. Besides the various translators from the English, as for instance William Györi, Augustus Greguss, Ladislaus Arany, Sigismond Ács, Stephen Fejes and Eugene Rákosy, who, like those already incidentally mentioned, assisted in the Kisfaludy society’s version of Shakespeare’s complete works, metrical translations from foreign languages were successfully made by Emil Ábrányi, Dr Ignatius Barna, Anthony Várady, Andrew Szabó, Charles Bérczy, Julius Greguss, Lewis Dóczi, Béla Erödi, Emeric Gáspár and many others. A Magyar version, by Ferdinand Barna, of the Kalewala was published at Pest in 1871. Faithful renderings by Lewis Szeberényi, Theodore Lehoczky and Michael Fincicky of the popular poetry of the Slavic nationalities appeared in vols. i. and ii. of the Hazai nép költészet tára (Treasury of the Country’s Popular Song), commenced in 1866, under the auspices of the Kisfaludy society. In vol. iii. Rumanian folk-songs were Magyarized by George Ember, Julian Grozescu and Joseph Vulcanu, under the title Román népdalok (Budapest, 1877). The Rózsák (Zombor, 1875) is a translation by Eugene Pavlovits from the Servian of Jovan Jovanovits. Both the last-mentioned works are interesting from an ethnographical point of view. We may here note that for foreigners unacquainted with Hungarian there are, besides several special versions of Petöfi and of Arany, numerous anthologies of Magyar poetry in German, by Count Majláth (1825), J. Fenyéry and F. Toldy (1828), G. Steinacker (1840, 1875), G. Stier (1850), K. M. Kertbeny (1854, 1860), A. Dux (1854), Count Pongrácz (1859–1861), A. M. Riedl (1860), J. Nordheim (1872), G. M. Henning (1874), A. von der Heide (1879) and others. Selections have also been published in English by Sir John Bowring (1830), S. Wékey in his grammar (1852) and E. D. Butler (1877), and in French by H. Desbordes-Valmore and C. E. de Ujfalvy (1873).